Friday, 24 October 2014

Nice art: Andrew MacLean draws Alien characters

Got a staff development day today at work, so a quick post of some cool art to get you into the weekend mood (there'll be something more substantial later, hopefully). Andrew MacLean's drawn a bunch of black and white character illustrations of the Alien cast. there's  Ripley, Dallas, Parker, Lambert, Kane, Brett, Ash, and the Xenomorph (you can see them all at the link and you should- they're really good)); Maclean's selling the originals too, if you fancy one. I like that he kept it clean with the black and white- that, and the simple, utility with detail aesthetic nicely parallels the tone and feel of the film. I probably like Ripley best- those little clouds around her head make that one, but the Xenomorph is amazing, and I love how MacLeans' got the sudden movement of the face-hugger's attack on Brett- that one's very dynamic.





Wednesday, 22 October 2014

Image to give Ken Niimura's Henshin series English language release in 2015


While everybody's eagerly going over January solicits for mainstream comics, hoping the promise of a fresh, shiny new year will bring fresh, shiny comics, there were only two things that stood out for me (in my admittedly cursory appraisal). One: the absolute travesty that is the cancellation of She-Hulk. That's been an outstanding comic of 2014 for me: fun, well-written, beautiful covers by Kevin Wada, and superb art from Javier Pulido, and Ron Wimberley as guest artist. It looks like it may be a change-up of sorts from the soft murmurings on Charles Soule's Twitter feed, but as of now, it'll end with issue #12.

The excellent news came from Image: they'll be brightening up January with an English language translation of Ken Niimura's Henshin series. Best known for the terrific, award-winning I Kill Giants, which he co-created with Joe Kelly, Henshin is a collection of short stories set in Japan: a kid with weird powers, a lonely girl finding herself in Tokyo, and so forth. Originally published episodically by Shogakukan in 2013, it was later translated into Spanish, and is now going to be available in English for the first time.  The book will be 288 pages and in black and white.

I can't read either Spanish or Japanese, but I have spent a fair amount of time admiring the fluidity and expressive nature of Niimura's lines, and his art in general, and am more than happy to see and pick up any English language work. His style here reminds me of  Hisae Iwaoka but looser, with a little bit of Mawil thrown in: it's rather lovely, is what I'm saying. I think most of the Henshin stories are online, and some are even wordless and slightly animated like this final one, if you fancy a look. Pleased, too, to see Image translating quality works- if you missed it, they'll also be putting out David Rubin's and Santiago Garcia's fierce Beowulf adaptation next year. 



Tuesday, 21 October 2014

Debuting at CAB: Lala Albert's Janus


Excited about quite a few books that will be making their debut at CAB (Comic Arts Brooklyn), which takes place over the weekend of November 8th-9th, one of which is Lala Albert's newest work, Janus. Published by rising UK comics imprint, Breakdown Press, the blue and white colour-way looks incredibly striking, as you can see from the cover and preview pages below, really setting off Albert's fine lines and the textures at play- the page with the ocean waves is beautiful.

44 pages of comic and 52 pages in total length, Janus will be risograph printed (still going strong as my favourite printing treatment), and available to buy online from the Breakdown Press site soon after its debut. For those attending the Thought Bubble festival later in November, at which the publishers are exhibiting, no doubt copies will be available to purchase directly, so add it to your list now. I became a fan of Albert's after buying her over-sized newsprint comic, In the Up-Part of the Wave, continuing to read more over at her Tumblr, and later Paranoid Apartment, the now sold-out comic she did with Sacred Prism: exploring both the alienation and connection of the body and mind, of consciousness and self, resplendent with her odd, ethereal and yet very present figures. The opportunity to buy print work from her is scarce (I'm still kicking myself at missing out on her Alien Invasion series), so I value it that bit more when it comes to output from interesting artists. There's a very good interview with her here, which I recommend reading.

If you recall anything of classics, you'll remember that Janus is the Roman god of transitions and beginnings, usually represented with 2 faces in illustration and sculpture- one looking to the future, and one to the past, which gives some indication as to the themes dealt with here. Albert was kind enough to provide a little bit on what the book is about:

"Janus is a person trying to contain her wandering sense of self within removable modifications to her outward appearance. A mask, silicone skin-suit, webcams and mirrors only serve to widen the gap between mind and body. She is swept up in a world between ocean tides but lacks connection to her surroundings and the life happening around her." 





Monday, 20 October 2014

Some brief thoughts on the Lakes International Comics Art Festival

Steve and I went to the Lakes International Comics Art Festival on Saturday. The festival is now in its second year (I didn't attend the inaugural year). This wasn't a planned trip- Steve decided on a whim to drive up for the day, and asked me if I wanted to join him, and being curious to see what it was like, I was more than happy to do so (apart from a brief wobble when I had to get out of bed at 5:45 in the morning). My intention was to not go in 'journalist' capacity, but to have a wander as a comics fan and to check out this new festival and see what it was about. We were there for 5 hours on the Saturday, between 11-4 and returned the same day.

Foremostly, my whole experience was coloured by people's reaction toward me. Kendal, and the Lake District by large, is a very white, very middle class region. We saw -I think- maybe 6 people of colour in the time we were there (yes, I counted), and the festival, being located in the town center, on a Saturday with bright, dry weather- was busy, as was the surrounding area. I got stared at a LOT, and if you're visibly ethnic minority, you will instantly understand the hostile, open, up-and-down hard stares of which I speak- although some spunky people prefer a eye-contact off. We went into a fish and chip shop for lunch at one point, and people turned their chairs around to simply gawp/glower. As far as I could tell, it seemed to be the headscarf and being overtly Muslim, because the few poc I did briefly pass didn't seem to be under the same scrutiny, but I could easily be wrong about that. It was deeply unpleasant.

I'm sure there will be people saying I should separate my experiences from the festival itself, and I have tried to be as objective as possible in these rough notes below, but I would also state that it's difficult to divorce the festival as a separate entity from the town, because you're being sold the town as an integral part of the experience, it's pitched as a community event, local people pulling together. If you've never experienced being made feel unwelcome, and scrutinised so blatantly for simply being a different race, religion, whatever, you honestly will not understand how awful, how uncomfortable, and how unwanted it makes you feel. I live in Leeds, which is not without its problems or indeed, white gentrified areas, but between my home-town of Beeston -which has been a hub for immigrant communities for over 30 years- and the the city center, I forget how mixed, how multi-cultural it is, and what that means for me in being able to simply live and walk around relatively peacefully. It's been a while since I've been subjected to that in person, and on that level. The kicker is, you probably won't read another report that has a bad word to say, due to the overwhelmingly attendant demographic, and because people find it so hard to understand how 'a few looks' can have an effect or be racism and bigotry.

All the comics creators, journalists and so forth I chatted to, however briefly, were lovely. I am under no illusions about the make-up of the British comics scene in terms of its creators, but other conventions and events have been shown that the medium's audience IS diverse, and are slowly succeeding in attracting those people. I believe it's vital that we continue that approach and build upon it further, and be firm in not allowing any negative cultures or practices to fester.

Here are some quick thoughts/observations on the convention (less on meeting people or creators and books):

  • Currently, the festival seems to be very much a community event, with lots of local participation. Lots of shops and stores getting into the spirit and supporting the event by having posters up to advertise, doing window displays (which TCAF co-director Chris Butcher was in charge of judging and choosing a winner), etc.
  • The signage was great- dotted all around the town center: large banners, posters on lamp-posts and pillars and walls, and generally very widespread- you could tell something was happening. These were made all the more striking by the specially designed mascots by Louise Evans (aka Felt Mistress) and Jonathan Edwards who adorned much of the flyers.
  • The festival consists of various spaces located within the town center. As far as I could tell there were four main areas: the Clocktower: where the bulk of exhibitors and comics sales were taking place, the Brewery Arts Centre where signings and talks/panels were held, and the Shakespeare Centre and West Moorland Shopping Centre, both of which were hosting kids workshops and activities. General attendance is free, but talks and panels are priced and ticketed. The library and some bars were also involved in exhibitions and further events. This clear sectioning off of spaces worked well. The downstairs at the Clocktower felt a bit tight to navigate.
  • On the one hand, it's nice that these areas are clearly sectioned, and the programmes being handed out quickly help to establish what's occurring where. It also gives you the chance to wander around the town some, which is part  and parcel of the whole experience. It does, however also feel bitty and like you're going back and forth constantly.
  • Continuing from that, it seemed that a large portion of the audience was actually people in Kendal and surrounding areas (I don't know how accurate this is, it's a feeling I got from observing people), bringing comics to more local audiences and those who may not 'follow' the medium in any way, but attending as an event that's taking place in their town that might be interesting to go to,
  • One of the best things was seeing how many kids and parents were participating and having fun- more than I've seen at any festival and almost matching the adult attendees, and I imagines having the separate kids spaces: 'family zones,' really helped facilitate that.
  • There was a fun 'trail' for people to follow- a card which required a stamp from various areas, so each had to be visited and the stamp collected. The obtaining of all would result in a prize.

24-hour comics by (l-r) Joe Decie, Warwick Johnson-Cadwell, and Dan Berry

  • The 24-hour comics event seemed to be a resounding success. Sarah McIntyre, Fumio Obata, Kristyna Baczynski, Jack Teagle, Dan Berry, Joe Decie, and Warwick Johnson Cadwell worked from 3pm on the Thursday through to 3pm on the Friday (I think I have that right- might be a bit off) to produce comics which were then printed locally super quick- 50 copies of each- turned into books and were being sold fresh at the festival. People seemed very interested in those and they seemed to be doing well. I didn't go to buy, but I picked up 3, although I was interested in them all, they were a bit pricey at £8 each, I felt, probably due to the quick turnaround on printing. Joe Decie's black and white comic was cheaper at £6, where the others were in colour.
  • I've never been one for panels/signings, but if you're that way inclined, the programming was pretty strong, and the relatively small scale and new-ness of the festival meant access was easier; no long periods of queuing and so forth. When we were at the Brewery Centre both Sean Phillips and Gail Simone only had a person each at their table. Other guests included Junko Mizuno, Boulet, Becky Cloonan, Dave Gibbons, Scott McCloud, and more.
  • Quite a few of the comic creators I talked to all mentioned how well they were being treated and looked after (regardless of perceived name status), and I think it's always nice to hear a festival taking good care of their guests.
  • I attend two UK comic conventions a year religiously: ELCAF and Thought Bubble: both function in very different ways: one provides great art and comics from more independent avenues, while the other is a mix of UK talent and more mainstream overseas creators (mainly American). Together, both provide me with ample opportunity to see my favourite UK artists and get their latest work, introduce me to new people and presses I may not have heard of, whilst also providing the opportunity to meet authors.
  • Looking to see where the Lakes fits in on this scene, and what it offers that the others don't: it doesn't  really do much to provide beyond that- there was nothing new, nothing that would make me add it to my list of shows that I attend each year, particularly as it's so close to Thought Bubble in terms of scheduling: 4 weeks before. As an attendee, if you had to choose where to spend your money, you'd go for the latter.
  • From what I can gather the focus, and the identity of the show, seems to be that it's at the Lakes, and that you come and stay for the weekend and experience the town and district, and it's a bit of a getaway- as I mentioned before, a 'come visit our town' thing. As I stated before, is probably fine if your'e white and middle-class- I'm sure that would be a very pleasant few days. I've been on holiday to the Lake District before, and it's not been this bad- perhaps that was because we stuck to the more 'touristy' areas, and here the small-town insularity and mentality may have come into play.
  • I think Kendal would function well as a starter show- if someone were looking to attend a UK comics festival, this is a good access point, not overwhelming in terms of potential things to do and people to see, and the fact that it is spread out around the town, and not as focused makes it less 'comicsy' and more accessible.
  • On the whole, the Lakes is not a festival I would return to: much of what it offers is available to me 4 weeks later in a much more thorough, friendlier, inclusive way right on my doorstep. I realise that's obviously not the case for everyone. Ultimately, at this point I don't feel it has developed something unique yet, something that it does that other festivals don't. Or it may simply be that the  facet that is supposed to set it apart and make it special - the environment- is not something I'd willingly partake in again. Unless Katushiro Otomo decided to attend.

Friday, 17 October 2014

Dave Gibbons named UK's first Comics Laureate

This is rather interesting news announced at the Lakes Comics Festival today: Dave Gibbons is to become the UK's first Comics Laureate, in conjunction with the launch of new charity, Comics Literacy Awareness (CLAw). The role of comics laureate is to be appointed biennially to a distinguished comics writer or artist in recognition of their outstanding achievement in the field, with a view to championing the medium and children’s literacy through school visits, training events for school staff and education conferences. 

Gibbons has worked with DC, Marvel 2000-AD and others over the course of his career, but is best know for his work on the seminal Watchmen. He had this to say on his appointment, a two-year tenure that will begin in February 2015: 'It’s a great honour for me to be nominated as the first Comics Laureate. I intend to do all that I can to promote the acceptance of comics in schools. It’s vitally important not only for the pupils but for the industry too.' 

Comics Literacy Awareness (CLAw) is a new UK charity whose primary aim is to improve the literacy levels of children and to promote the variety and quality of comics today, particularly in the education sector. The intention is for the charity to work closely with schools on a number of initiatives, in addition to liasing with museums and galleries on a variety of comics-related projects, and provide reading lists and general guidance to school staff and parents unfamiliar with the comics medium, demonstrating the wider educational benefits it can offer.

The Board of CLAw’s trustees includes renowned graphic novelist Bryan Talbot, Julie Tait, Director of the Lakes International Comic Art Festival; Ian Churchill, comic book artist for DC and Marvel, and writer/artist on his Image Comics title Marineman; Emma Hayley, Managing Director and Publisher of UK’s independent graphic novel company, SelfMadeHero; Paul Register, school librarian and founder of the Stan Lee Excelsior Award; and Dr. Mel Gibson, comics scholar and senior lecturer at Northumbria University.

I think this is a fantastic idea- It would be great to get more kids into comics and all that they can offer at a young age- and an enormously positive move, but as ever, its effectiveness will depend on the extent to which it is carried out within schools in the UK, and its reach, before it can have an impact. I'd be interested to see how schools are chosen, or whether there is a programme to which they can sign up for involvement and so forth.

News, Views, and Oddities #39

News, Views and Oddities, a fortnightly feature where we link to various bits and bobs which have grabbed our attention, encompassing comics, books, illustration, design and film. Clicking fingers at the ready.


I know the blog schedule has been a bit haphazard (this most likely bothers no-one but me) since I started writing for Comics Alliance, but things are starting to settle a bit, so it should all be a more regular now. Starting Friday's with some lovely art as is tradition, here are some new illustrations from R Kikuo Johnson.

I absolutely love this fun, adorable post by the kuš folks announcing Disa Wallander as the artist/author for mini  kuš #29. That's a pretty perfect fit.

This is an interesting post on the Make It Then Tell Everybody site: a number of comic artists, discuss drawing faces, differentiation, and crowd scenes. 

The UK's Cartoon Museum has been awarded a £164,000 grant. To my shame I didn't even know the UK had a cartoon museum until recently, but it has been open since 2006 and  is located in London. They're currently showing a very attractive-looking Gekiga exhibition, which will run until the 29th of November.   

This survey of convention trends is an intriguing read. While it's not surprising that the breakdown in the gender of attendees is now pretty much 50/50,  it also appears women spend more at conventions than men. In similar vein, this short piece is worth a read, if you can divorce yourself from that main image and some of the sweeping assumptions.

If you missed it, I previewed a 6-page excerpt of the second volume of Frederik Peeter's Aama: The Invisible Throng. The book releases next month, and looks beautiful; but you immediately want the next part after reading it, which is frustrating. I'm sure it'll be a richer experience when read complete.


Some of these links I've had saved for a while, so for those of you who missed it, here's the full transcript of Gene Yang's speech, delivered at the National Book Festival Gala, in which he discusses the importance of fearlessness in writing and diversity.


Dustin Harbin shares his sketchbooks with The Nib. The bit about not being happy about work for yourself or to show others until it looks the way you want resonates. 

Richie Pope is one of those artists whose work I always enjoy and look out for. He's got a new book available- a collection of drawings about a never ending neighbourhood. International shipping cheap and available- get on it.

There's been quite a few articles and back and forth on the changing face of comic conventions, in particular where it concerns long-term exhibitors, and cosplayers. It was a conversation started by Denise Dorman and responded to by a few- I like Chris Butcher's take.

Roman Muradov illustrates the Google doodle for Leo Tolstoy's 186th birthday, and details the process in creating it. 

I was disappointed with the latest volume of Amulet- I admire Kibuishi's adeptness at introducing new characters and plot-lines, but it felt too much at this late stage to still be doing that- it takes away from the readers' ability to connect with the characters who have been there from the beginning. Kibuishi's announced the series will be 9 books in length, so 3 more volumes in which to wrap everything up and provide resolutions for the many, many characters. 

Comics you should read:

Wednesday, 15 October 2014

Take 3 panels: Tintin: The Castafiore Emerald

A simple idea behind the Take 3 Panels feature: introduce a book and its authors, with a brief overview/outline of plot, and then pick out 3 panels from it to deconstruct and chat about.

The comic: Tintin: The Castafiore Emerald by Herge, 1963
The story: In a  nutshell, The Castafiore Emerald sees Captain Haddock's most infuriating nemesis, the famed opera singer Bianca Castafiore, arrive at Marlinspike at her own behest, bringing with her her collection of precious jewels. When the jewels go missing, Thompson and Thompson are called in to investigate the crime. Reading this as an adult, it is by no means the strongest of Herge's Tintin adventures (it is one of the few without a villain), and yet for some strange reason it was my favourite as a kid: I found Bianca Castafiore terrifying and hilarious in equal measure, and the sequence in which Captain Haddock has his nose stung by an insect terrified me. His not insubstantial appendage already red, lumpy and engorged (stop sniggering), looks even worse when Bianca applies crushed rose petals onto it, giving the appearance of some weird, fleshy growth. I was also pretty obsessed with emeralds -no, seriously- because some chart I'd read that allocated you a jewel stone according to the month you were born, had informed me emerald was my gem, so it held extra allure. Mostly, I think it was probably the most out-and-out comedic of the books, Herge's usual slapstick and buffoonery- the Thompson's, the broken stair- now heightened with sheer ridiculousness, and the Captain's desperation building to a crescendo. 


Sometimes it's relatively easy to choose 3 panels, and sometimes it's not. The panels selected aren't necessarily my favourite or the most attractive (these are, by far, the most beautiful in the book), they're the ones that just catch and hold the eye when I'm going through it: I don't actively look for points to talk about, but try to discuss what makes the panel of consequence once it's been selected. This is the very first panel in the book, and it also happens to be a beauty- it chooses itself. It establishes setting and the 3 main characters instantly: they're in the countryside and over the course of the opening passage they walk up to Marlinspike Hall. The idyll of it is serene with words unnecessary; although as they come closer, we'll get to hear their conversation. 

The perspectives and framing are so well done: tree on the left in the foreground and therefore larger, trees on the right inhabiting a middle ground so still big, but not occupying huge space. The branches of the two overlap into an archway of sorts, under which Tintin and the Captain are walking in an almost central position (the slight left-placed position helps to anchor the act of walking; coming forward towards the reader, and into frame), with Snowy bounding further ahead and hidden somewhat by foliage. Herge uses varying shades of green to differentiate perspective and depth cleverly- mounds, hills, and trees- the colouring working to measure distance as well as atmosphere. And if we're never to discount anything that's included in a panel, particularly in any semi-prominent position, I love that the nightingale is front and center here- that should tell you something.


As I mentioned earlier, the humour in The Castafiore Emerald is key; the mystery/adventure secondary for a change, and this is one of the more overt panels which makes that tone apparent. Here the Captain's fears and irritations are manifest in dream form: Bianca and the parrot she gifted  him amalgamated into one being, while he's naked and vulnerable in the front row at the opera, with all the little tuxedo-ed parrots (birds of Bianca's feather) looking seriously on. This is how the Captain sees Bianca: all puffed out plumage, screechy, essentially rather ridiculous. Herge was woefully inadequate when it came to the inclusion and representation of female characters in Tintin, and there is a reading of Bianca here that doesn't help his case: a demanding, diva of a woman who schemes and tricks him into a non-existent engagement, the first of which he learns when reading a newspaper. 

However, essentially Bianca is what we would today term 'fabulous.' The whole idea of Bianca is she's famous and ambitious, although she pretends to be oblivious to it all when she's clearly not; she's not even really interested in the Captain at all, apart from using him a little for her own ends. She's not stupid: she knows he's not interested in her, and she's happy to tune it all out and let people assume what they will, which fits in with Herge's depiction of her: Bianca's supposed to be a cartoon depiction, the comic relief (but only because she never bothers to correct people and allows them to think that of her)- it's something she plays up and turns to her own favour, but she is also a successful, strong-willed, and talented woman (as much as the Captain may not appreciate it).  I like the Capatin's mussy hair here, too.


This is a classic, quintessential Herge panel for me. The motion, the physical humour, well-drawn car, the surprised clouds and startled stars. Captain Haddock's empty wheelchair has rolled loose, barreling down the hallway and scooping up Professor Calculus in its wake, the momentum and weight then propelling it down the stairs and straight into Igor, who is just about to get into his car. This is the result: the force of the clash propelling Igor into the car and out the other end, while all that can be seen of Professor Calculus is his upturned, shadowed feet. the little details make this panel, the still-spinning wheels of the chair, that one yellow star in the bottom left corner, the contents of Igor's briefcase sailing through the air. The stars and clouds are all clustered around the car, more than Igor, the pointed ends of that latter suggesting they denote Professor Calculus' stunned exasperation, while the stars are focused largely on the left for the blunt point of impact. So good: a perfect punchline of a panel.

Comics Shelfie: Michel Fiffe


Comics shelfie time, this week with Michel Fiffe. Fiffe's self-published comic series, Copra, has been a bona fide break-out hit for the artist, one of the most acclaimed titles in recent years. he's been credited with breathing new life into the superhero genre, a talent which hasn't gone unnoticed, with Marvel hiring him to write their All-New Ultimates title. Today, he's here to share his comic collection, and discuss some of the books and artists which have impacted upon him.


'I don't want more comics, but they're endless and I need them and sometimes I can't help it. I'm constantly resisting the urge to amass and hoard the comics from creators I like (as opposed to collecting that which I thought I had to own - that's some old school collector tic that I've long gotten rid of). Why would I resist collecting comics I would enjoy, then? Because clutter bugs me out, especially when it's mountains of unread, unopened objects that feel more like homework than something to get excited about. I've also schlepped enough crates and long boxes between apartments to make me want to throw it all in a shredder and then set the shredder on fire. 

Instead, I've whittled it down to this one modest bookshelf.


It occupies a corner in my studio and accommodates just the right amount of comics that I care to absorb. It's stories I know I'll want to reread, art I'll never get tired of looking at, and shit that cracks me up.


The bottom shelf is occupied by Steve Ditko related books. I have a box of newsprint Ditko comics, too, but this shelf is strictly for collections, folders stuffed with clipped  odds and ends, and my own bound books. That plastic mess at the far right is material ready to be sent to a bindery. Four bags full of ripped up comic book pages, each bag dedicated to a specific artist, Ditko being one of them. Looking at this picture, I should go ahead and toss that goddamn Yoe book. Didn't Fantagraphics release a 4th Ditko book? Perfect replacement. I love it when things work out.


Aside from the comics shelf, I have a handful of long boxes. Those are always in flux, too, since that's another layer of my collector attitude. I like to buy old stacks of comics, read them, then get rid of them. Not even for trade or anything, they just gotta go. I once bought hundreds of Legion of Superhero issues in order to force myself to understand what their appeal was. No, you're right - it's fucking stupid. And who has the time? It's even worse when it's titles that I used to own, purged them once before, and I'm now hurting for seconds. It is a sickness.

Anyway, I have these 2 short boxes out in the open, consisting of issues I like to regularly look at for inspiration. These are mostly categorized by individual artists. Guys like Zaffino, Salmons and Steranko have relatively smaller bodies of work, so they can all fit in easily and still leave room for some Damage Control comics. Shown: one of my favorite Daredevil comics by early Barry Windsor-Smith. Crude but super appealing.


Speaking of favorite Daredevil comics, here's an artist-specific stack: Klaus Janson. From the time he was inking Deathlok to the handful of stories he's written, I've been studying tons of Janson. I keep returning to that one issue of Daredevil, though, that #192. 


My God, that cover. It's all in harmony, the logo, the composition, the quiet desperation, it fully represents this exceptional stand-alone issue written by Alan Brennert. Janson was doing all the art chores at this point and it's all incredible. The title page hits the right notes for me. It somewhat has this Katchor quality to it. I like how the styles flip flop from the naturalism of the second panel to the cartoonish 3rd & 5th panels. It's not jarring, it makes complete sense within Janson's vision. The color's a huge inspiration, too: the gradual fades on the main building and the green color hold in an all yellow background? I drool over those decisions. 


From the book shelf itself are the two Maruo Graphs that I was lucky enough to order from Last Gasp when they had them in stock. I saw Suehiro Maruo's work way back in a Naked City album, but the first narrative work I saw was when the Ultra Gash Inferno collection came out in 2001. Maruo is perhaps the last artist to have profoundly influenced me during my formative years. I would hunt for his work and never find any. I would sometimes print out images from this website that had tons of scans. Then these two handsomely packaged books were dreams come true - collections of comics, prints, sketches, and paintings. I actually thought that the Graphs would be held up by the publisher or something or that it was all a scam and that such books would never exist. I still sent that check. 


The work of George Grosz in Ecce Homo has informed the way I approach ink, color, and composition like nothing else has. All of which I use directly with my work in comics, so I think it more than counts. As someone who never worked with color up until recently with my Zegas material, I was really emboldened by Grosz's aggressive application of tones (and black ink lines for that matter). I'm referring mostly to his watercolor work (although his paintings are just as fiery). The watercolor section in this book is unlike anything I'd seen before. Reaching that level of intensity… well, it's always good to have something to aspire to.

Okay, time to pick out some books to get rid of. I need to make room for some new ones. Or I can just go buy another bookshelf.'

A massive thank you to Michel for his time and participation. You can view all the previous installments of Comics Shelfie here. Next installment will be up in a fortnight (ish).

Monday, 13 October 2014

Beast Wagon, caged animals, and the systems of control


I saw the cover image here in my Twitter feed and was instantly struck by it- the interposing blocks and colours, it's nicely designed.  The cover is for a new comic series by British comic creators Owen Michael Johnson and  John Pearson with letters by Colin Bell, titled Beast Wagon, will be released next year under Released under Johnson’s Changeling Studios imprint. Described as 'One Flew Over the Cuckoo’s Nest with talking animals' beast wagon is set in a safari park, and aims to be ‘an examination of systems and control.' The premise sounds similar to an online comic I remember being talked about a bit a couple of years ago, with animals in a zoo plotting revolution- some of them wanting to break free, some happy with their life. Both Johnson and Pearson will be at Thought Bubble this November with a 6 page preview booklet of the comic which includes a fold-out map (which I'll be looking to pick up). Potentially intriguing, I hope the interior artwork matches up to the quality and pull of this cover image. 

Thought Bubble panels, and spiffy comic storage solutions

On the mind right now- Thought Bubble is crazy close: 4 weeks away. I'm a tad more nervous about it than usual as I was asked to participate/moderate on a couple of panels this year, and I said yes. Right now it doesn't feel like a stupid decision, but only time will tell. Of course, this would be the year they announce they're going to record all the panels for prosperity and so that they can be uploaded onto the site and viewed by those not at the convention. I'll try not to mumble as much. On Saturday I will mostly be at the OK stall bothering Jared and being crap at selling stuff, and wandering around on Sunday in between my panels, both of which are in the afternoon:

  • 2:00pm: moderating the Spotlight on Gotham panel, with Becky Cloonan, Brenden Fletcher, Cameron Stewart, Scott Snyder, and Babs Tarr. 'This year marks the 75th birthday of the Batman – Gotham’s stalwart savious, the world’s greatest detective, and to celebrate this milestone, as well as the publication of two new titles set in and around the caped crusader’s home-city, we’re shining a spotlight on Gotham, and the creators that currently inhabit it!'
  • 4:00pm: a participant on the Comics and Journalism panel, discussing 'comics journalism, objectivity and subjectivity, negative reviews, interview techniques and how what you write may change based on where it will appear and who may read it,' with Dan Berry, Laura Snapes, and Douglas Wolk. 

I'm not the biggest fan of panels or indeed, public speaking (remind me why I'm doing this!), but I want to push myself beyond my comfort zone. So, come and watch and listen! The whole programme for this year looks superb, especially the inkstuds panel, hosted by Robin McConnell and Brandon Graham which will have Boulet, Emily Carroll, and Becky Cloonan as guests. As usual, though, there's a tonne of great events lined up, some in partnership with the Leeds Film festival, which will even see Alan Moore in attendance at a screening of his film Show Pieces.

That announcement out of the way, I got sent something cool in the post from the kind guys at Comic Cartel. They've created these new boxes specifically designed to store floppy comics/issues, and they're a pretty nifty design: good-looking, well-made and sturdy, fit on your bookshelf, nice slot top closure which helps keep the comics straight/upright. I should point out: the cream box is the actual thing we're talking about here, it comes encased in the black box for protection.



Here's the cream box on my bookshelf. As you can see, it has a ruled section on the spine where you can write what's inside in terms of runs and organisation, etc. It's a good, snug fit.


The boxes cost $7.99 each  and are supposed to fit up to 15 bagged & boarded, single-issue comics (not yet tested this)- the price decreases the more boxes you buy. Some might think that a little on the expensive side, but for someone like me who doesn't have a ton of issues, but enough to require some sort of storage system, it's ideal. I don't like long-boxes: I don't have the space for them and I dislike the idea of shoving so many comics in there together. Most of my issues are currently in random, re-used boxes in with my small press and mini-comics on the top of my wardrobe, which isn't great considering these are supposed to be the comics I value enough to buy in issues (paradoxical reasoning, I know) or have taken the trouble to track down. I probably need a few of these boxes and I'll be nicely set. I like that there are people thinking about this kind of thing, you know, more focus on the quality and aesthetics combined with practical functionality- smart. I hope it takes off for them. Below is a picture of roughly what my main shelves look right now (I have a spare bed in my room, which is filled with teetering piles of books which I picked off the floor so I could vacuum it). Thinking of buying another bookshelf this size and then stopping. It'll be nice to have all my issues on hand, instead of having to lug a stool and be drowned in dust


The black outer box is so nice and sturdy, it seems a shame not to put it to use, so it's now also filled with comics:


They popped a few things in the box, too, to get me started off- thanks guys!


On issues, I started at a point where I was 'nope. never gonna buy issues, expensive, flimsy, less prettier to store,' but I've given in as far as more obscure runs/mini-series are concerned; one reason being the art is so more accessible than in tight trade bindings. Arthur Ranson's and Alan Grant's  2-issue Batman: Tao story, for example is collected in the Batman International trade, which isn't a bad volume to have- there's Frank Quietly's Batman in Scotland story in there too (although that's also included in that big, new Quietly book), but the paper it's printed on is glossy and not very good, which prevents you from appreciating Ranson's art in the same way. Issues are obviously a lot more open in that manner, I guess, in that that is the first and original format for which they're intended, so the comic tends to be geared towards that.  

And, of course, some runs are never collected in any sort of book, I'm currently trying to track down all the Batman: Alien stuff -Wrightson/Marz, Edginton/Johnson/- hardcore into Aliens right now: re-watched all the movies and Prometheus, buying the comic omnibuses (which most probably collects a lot of that material), buying the new mini-series from Dark Horse, which have been surprisingly good so far. Tom Spurgeon tweeted about the Cosmic Odysseys series, and I ended up heading to Ebay and buying the four 'prestige format' editions which was how they were originally released -supposed to be a little bit bigger, I think- rather than the trade. So I'm starting to eschew sturdiness of format for what allows the art and comic experience in general to be better. With regards to 2000AD/rebellion, I've got a few of those big (in breadth, not thickness) ass paperback books they used to put out- bigger than A4-: Bolland and Wagner's Judge Death, Ranson's and Grant's Satan, etc. Again, most of these are collected in Judge Dredd or Judge Anderson volumes (the latter can be found in Shamballa) but it's a crime not to own Satan in that large format- you lose a lot of the epic feel and the magnificence of Ranson's art, that effect it has.


Uncorrected advance proof of Philippa Rice's Soppy, which will be released in January 2015. It's a coloured version, which is great; I don't really understand the practice of sending out advance uncoloured proofs of something that's going to be in colour and being asked to work from that. It's essentially saying that colour doesn't matter- where it makes a HUGE difference to how you read and perceive a comic- I really wish people would stop doing this. Gilbert Hernandez's Bumperhead, which is good, but just so depressing. A life lived in all its banal glory. Hoe important people perceive themselves to be, how self-satisfied they are -even when it's stemming from insecurity- that they end up not sharing anything because nobody is really worthy. I really loved the bit with Lalo and his Ipad- a lovely weird detail. I was wondering how it fitted in, but then I don't think it really is supposed to- it's a neat touch.


I didn't really care for either of these. Well, that's partly true. I liked DeLisle's little book of cartoons, but it's not the sort of thing I'd buy at all if I hadn't been sent it. They're light, fun cartoons, and I ran through them easily enough, but just not very substantial at all; I can't imagine anybody ever re-reading them, and yes, I know- that could be said of many comics. Cat Eyed Boy has a fantastic cover, and some of the stories about this strange cat-boy creature borne of goblins are really good: weird intertwined with the horrific and an element of guilessness, but the volume is spoiled for me, by the whole 100 monsters storyline which starts out promisingly enough and then stretches out too long (and presumably into the second volume) without being as interesting as the accompanying tales. Worth a look, though.